"Editing is the creative force of filmic reality." So Dmytryk, director of the American classic "The Caine Mutiny" begins this little book, which he hopes will aid film directors and editors in perfecting their art. It is informative for general audiences as well, demonstrating how deeply the experience of any film relies on the creativity and versatility of its editor. Product...(展开全部)

From a Pulitzer Prize-winning playwright comes invaluable insights and practical instructions on the art of film directing. Mamet looks at every aspect of directing--from script to cutting room--and draws from a wide variety of sources to make his points.

From a Pulitzer Prize-winning playwright comes invaluable insights and practical instructions on the art of film directing. Mamet looks at every aspect of directing--from script to cutting room--and draws from a wide variety of sources to make his points.

皮耶尔•勒迈特 Pierre Lemaitre 1951年生于巴黎，以悬疑小说蜚声文坛，曾三次获得国际匕首奖，被誉为“悬疑小说大师”。 2013年，他凭借《必须找到阿历克斯》荣获国际匕首奖。同年，又凭借一战背景史诗巨作《天上再见》，荣获法语文学至高奖项——龚古尔文学奖。自此，皮耶尔•勒迈特成为历史上罕见的在推理文学和纯文学两个领域都获得至高荣誉的作家。 《必须救出罗茜》是“卡米尔•范霍文警长四部曲”中的第三部，这个系列还包括《必须找到阿历克斯》《必须牺牲卡米尔》等。 本书也是勒迈特送给读者的一份礼物。在这个故事的最后，他用黑色幽默制造出强烈的反差，带给读者极大的震撼。当偏执人性遭遇法式浪漫，会有怎样荒诞的真相？

A priceless examination of the filmmaker's craft, from the renowned director of Sweet Smell of Success After more than twenty years in the film industry as a screenwriter, storyboard editor, and director of memorable films such as The Ladykillers, Alexander Mackendrick turned his back on Hollywood and began a new career as the Dean of one of the country's most demanding and inf...(展开全部)

A priceless examination of the filmmaker's craft, from the renowned director of Sweet Smell of Success After more than twenty years in the film industry as a screenwriter, storyboard editor, and director of memorable films such as The Ladykillers, Alexander Mackendrick turned his back on Hollywood and began a new career as the Dean of one of the country's most demanding and inf...(展开全部)

陳珊妮：Gloomy Sunday Rosy自序 我喜歡音樂，音樂是我的興趣；工作，幾乎覆蓋我的生活；我也喜歡畫畫，畫畫比較類似睡眠，甚至泡茶，對我這樣一個工作狂而言，畫畫相對於音樂是較為健康甚至帶有療癒性的。 我睡得少，工作時間長，往往喝咖啡上廁所的時間，也在思考。除了處理工作上的事情 ，我找自己麻煩也製造新問題。以前不那麼忙碌的時候，老覺得時間不夠用，世界可以更快的轉動，於是去報名速讀學人家訂定計畫表。現在忙得要命，卻還花時間慢游蛙式感覺呼吸學學打毛線畫工筆畫。 我可以花上很長的時間坐在喇叭前面戴著耳機，試圖找到自己一直聽不見的頻率關聯。 畫畫也是， 一下手就無法停不了。我不用電腦畫，偶爾手繪一些重覆性很高的圖形，更是覺得有趣。藝術這玩意兒很奇怪，你得去感覺他，明明以前怎麼也學不來的東西，打從聽得到或看得到的那天起，你的人生...(展开全部)

埃里克·舍曼,出生于洛杉矶，成长在好莱坞的制片厂里，现任教于加利福尼亚艺术学院，曾在几家主要的好莱坞电影公司担任制片主管，与一些好莱坞顶尖级的编剧、制片和导演一起工作，成功地保证了许多电影在预算的资金和时间之内出品。从1976年开始，除了与一些工作室合作之外，埃里克还拥有和经营着一个电影公司Film Transform，全面涵盖了电影和视频制作的业务。他的著作包括四本广泛使用的教科书：《导演电影》（Directing the Film）、The Director's Event、Frame By Frame和Selling Your Film。

埃里克·舍曼,出生于洛杉矶，成长在好莱坞的制片厂里，现任教于加利福尼亚艺术学院，曾在几家主要的好莱坞电影公司担任制片主管，与一些好莱坞顶尖级的编剧、制片和导演一起工作，成功地保证了许多电影在预算的资金和时间之内出品。从1976年开始，除了与一些工作室合作之外，埃里克还拥有和经营着一个电影公司Film Transform，全面涵盖了电影和视频制作的业务。他的著作包括四本广泛使用的教科书：《导演电影》（Directing the Film）、The Director's Event、Frame By Frame和Selling Your Film。

The essay—with its emphasis on the provisional and explorative rather than on definitive statements—has evolved from its literary beginnings and is now found in all mediums, including film. Today, the essay film is, arguably, one of the most widely acclaimed and critically discussed forms of filmmaking around the world, with practitioners such as Chris Marker, Hito Steyerl, Err...(展开全部)